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EFFECTIVE FOCUSES AND THEIR CLUES Rope session (several tricks). Focus Secret
Directory / Spectacular tricks and their clues Session description: The magician holds in his hands a piece of rope about a meter long, demonstrates it, asks the audience to examine the rope, for which he throws it from the stage to the first row. While the rope manages to reach them, a knot is tied on it by itself, which, of course, surprises the audience. In exactly the same way, having demonstrated a second rope of the same type, the presenter throws it into the hall, and a knot is also tied on it in flight. When the ropes are inspected and the knots are untied, they are transferred to the stage. Taking a rope in each hand and showing them to the audience, the artist ties their ends together with a knot, then, tightening the knot with great force, once again shows the now tied rope, holding it at one end. After this, he takes the rope in two hands by the middle on either side of the binding knot. Looking into the audience with a sly smile, he sharply, but without much effort, spreads his arms to the sides. The ropes instantly untie and the knot disappears. These little tricks, performed lightly and cheerfully by the presenter, please and puzzle the audience. Having carried the ropes to his work table, the artist returns with twine about two meters long. One of the spectators is invited to the stage to take part in the trick. Having shown the twine to the spectator who has climbed onto the stage and those sitting in the hall, the illusionist, folding the twine in half, holds it by the ends, as shown in Fig. 110, A. Then, taking the end of the loop hanging down at point 1 with his right hand, he passes it under the fingers of his left hand and pulls the twine to the side, as shown in Fig. 110, B. After this, the artist asks the spectator-assistant to take scissors from the demonstration table, which stands on the proscenium, and cut the twine in the place marked with a dotted line in the figure, that is, between the magician’s hands holding it. The twine is cut, it hangs in the artist’s left hand, as can be seen in Fig. 110, B.
The magician ties the upper ends together with a knot, takes scissors from the assistant spectator and trims the ends of the twine protruding from the knot piece by piece until he has cut them off completely. Then he puts the scissors in his pocket, holding the knot tying the twine between his palms, begins to roll it up, and after this asks the spectator present on stage to pull the twine at one end. The twine is pulled completely through the illusionist’s palms and turns out to be completely intact, without a knot or any traces of scissors. There is also no knot in the open palms of the magician. The twine is checked for strength, it remains the same. The presenter thanks the viewer for his help, and he goes into the hall to his place. The performer takes a wooden ball from a box on the work table. Returning to the front of the stage, he threads twine through the through hole in the ball, holding the ball with his left hand, lifts one end of the twine above his head with his right, and the other end freely falls to the floor. The performer steps on the end of the twine lying on the floor with the toe of his right foot, thus the twine is stretched vertically. The leader lifts the ball to its highest position and releases the hand holding it. The ball, sliding freely along the twine, falls down; the performer immediately lifts him up and turns to him reproachfully: “Oh, how bad! You’re “magical”, but you behave like an ordinary ill-mannered ball! What will the audience think of us?! Did I order you to fall? I beg you “Be obedient and don’t go down without my instructions.” This comic conversation with the ball is very fun for young viewers. After this conversation, when the artist takes away the hand holding the ball, it does not fall down, but remains at the top. “Now you’re great, really ‘magical,’” the artist says to the ball. “Get lower!” The ball obediently drops a few centimeters and stops. "Very good! Go even lower!" The ball goes down and stops. So gradually, with stops, the ball reaches the very bottom. The ball is raised up again and travels down again, but now makes only three stops. The ball is removed from the twine, the artist takes the twine to his work table and returns back with three wooden balls and two thin ropes, each 2,5-3 m long. The presenter places the balls on the demonstration table, and passes the ropes to the audience for inspection. When the ropes are returned to the stage, three balls are passed into the hall for inspection. Meanwhile, the artist invites two assistants from the audience onto the stage. The artist puts the ropes together, aligning their ends, holds the paired ropes by the middle, waiting for the spectator-assistants to come and the balls inspected by the public to return. The presenter invites the assistants to come up on stage to inspect the objects lying on the demonstration table and show them to the audience. These are multi-colored plastic rings, keys, scissors, bushings (short tubes), etc. things (there are no more than ten of them) and one bright cloth bag - 50x40 cm. The side seams of the bag do not reach its base by 7-10 centimeters. Thus, there are gaps in the side seams at the base. The items were inspected and shown to the public, the balls were returned. The magician gives the two ends of the paired ropes to one of the assistants, and asks the second to put three wooden balls on them, passing both ropes through the balls at the same time. The balls are put on, the artist ties the ropes over them with a single knot, as shown in Fig. 111, A, and hands the ends of the ropes into the hands of the assistants, the balls hang on the ropes. Then two rings are put on and the ropes are tied over them with a single knot (Fig. 111, B). And so every time, after another object or several objects are put on the rope, the artist ties a single knot of paired ropes above them. Thus, all the objects from the demonstration table are strung on ropes, and the bag is put on last and all the previously hung objects are inside it (Fig. 111, B). A single knot is also made over the bag, but not from paired ropes, but from single ones - this is clearly visible in our figure. In this form, the assistants-spectators hold the ends of the ropes.
The magician, having rolled up his sleeves, puts his hands inside the bag, through the bottom, and then one by one takes out the objects strung earlier, in the order in which they were put on the ropes, that is, first he takes out the balls, then the rings, etc. Finally, he asks his assistants to tighten the ropes; the bag, having slipped from the ropes, ends up in the hands of the magician, and the ropes, safe and sound, are in the hands of the assistants. Another spectator is invited onto the stage to examine the ropes and other objects involved in this trick. After inspection, the viewer certifies that all the objects are ordinary - they are safe and sound. Having thanked the spectator-assistants, the artist releases them to their seats. When there is silence in the hall (the spectator assistants have taken their seats), the presenter proceeds to show the next trick. Taking a sheet of newspaper from the work table and showing both sides of it to the audience, the artist tears it in half vertically; then, placing the halves one on top of the other, he tears them in half again, but this time horizontally. So, folding the newspaper several times, he tears it into shreds. Having crumpled up the scraps, he holds the lump in his left hand and, having carefully disassembled it, slowly, piece by piece, removes a bright scarf (40x40 cm) from the middle. The artist throws the lump backstage, and, showing both sides of it to the audience and throwing it up, gives it to the assistant who arrives. The assistant with the scarf remains on stage. The illusionist picks up a piece of rope 1-1,5 m long, shows it to the audience, and then ties a loop at one end of the rope. Taking the rope by the end opposite the loop, he holds it hanging down freely with both hands and asks the assistant to throw the scarf higher. The artist catches the falling scarf at the end of a rope with a loop, like a rapier. The rope in the magician's hands suddenly acquired the rigidity of a rod. So, holding a scarf hanging at the end of a rope above his head, the presenter leaves the stage. This is the last trick in the session. Focus Secrets: We have already described the “spontaneous” appearance of knots, albeit using the example of scarves (second session with handkerchiefs, rice. 81). The knots on the ropes were tied in exactly the same way, and therefore we will not talk about this “secret” again. Tying the ropes together in a knot, the artist proceeded as follows. Having tied the most ordinary double knot, at first he did not tighten it too much, and only then began to pull the ropes with great force. It was at this moment that he deceived the audience. Let's look at Fig. 112. In the top picture you see the most ordinary double knot tied by a magician, however, here for clarity it is not tightened at all; in reality it is tighter. When the leader tightened the knot with great force, he stretched only one of the ropes, in the case shown in the lower figure, rope b-b. With this “tightening of the knot,” the second rope a-a forms a sliding knot, which is clearly visible in the figure.
That is why, when the performer sharply pulled the ropes in different directions, they came untied. Although this trick is simple, it should be rehearsed until you can do it confidently, since the knot will not slip if performed incorrectly. The next trick with cutting twine is very impressive, although its execution is not difficult. The main “secret” is that when the magician passes the middle of the loop hanging down to his left hand, he grabs the twine hanging from end b with the middle finger of his right hand and pulls it to the side (Fig. 113, A).
At the moment of cutting the twine with scissors (which is marked with a dotted line in the figure), the illusionist releases end a from his left hand. Thus, the cut twine hangs in the hand, as shown in Fig. 113, B. Seeing four ends of the twine at the same time, the audience thinks that it is cut into two equal parts. When the upper ends are tied together with a knot (Fig. 113, B), the artist immediately takes it in his left hand, covering it with his thumb. Next, the leader trims the ends of the twine sticking up. He cuts them one by one and alternating, as if trying to even out the ends, but he fails, and he cuts them off completely. Using the ends of the scissors, the presenter, unnoticed by the audience, pulls out the remains of the cut knot. This “restores” the integrity of the cut twine. The ball, so obedient that at the magician’s command it stops and falls down, was made by him himself. This is a wooden ball 6-7 cm in diameter, in which holes running at an angle are drilled from diametrically opposite points towards each other (Fig. 114, A). The diameter of these holes should be greater than the thickness of the twine along which the ball slides, so that the twine can be easily threaded through the ball. Such a ball slides along the twine, but as soon as the twine is pulled (Fig. 114, B), the ball will stop. Our magician took advantage of this. The first time he did not pull the twine and therefore the ball slid down under its own weight. For the second time, the ball dropped only when the artist loosened the tension of the twine. By pulling the twine again, the performer stopped the ball in place.
The ball, so obedient that at the magician’s command it stops and falls down, was made by him himself. This is a wooden ball 6-7 cm in diameter, in which holes running at an angle are drilled from diametrically opposite points towards each other (Fig. 114, A). The diameter of these holes should be greater than the thickness of the twine along which the ball slides, so that the twine can be easily threaded through the ball. Such a ball slides along the twine, but as soon as the twine is pulled (Fig. 114, B), the ball will stop. Our magician took advantage of this. The first time he did not pull the twine and therefore the ball slid down under its own weight. For the second time, the ball dropped only when the artist loosened the tension of the twine. By pulling the twine again, the performer stopped the ball in place. In the next trick, while the audience was examining the balls, the artist tied the ropes, which he folded together, in the middle with a thin wire and, bending them, combined the ends of each rope in pairs, as shown in the top diagram of Fig. 115.
Since the place where the ropes are tied is hidden from the audience by the performer’s hand, it seems to them that balls and other objects are being strung simultaneously on both ropes. When the balls are put on ropes, the place where they are connected with wire is hidden inside the middle ball. By tying a single knot over the balls, the artist changes the ends of the ropes between the spectator-assistants, that is, the assistant who held ends 1-1 goes to ends 2-2, and vice versa. So throughout the entire trick, the ends pass from one assistant to another. This can be seen in the diagrams in Fig. 115. Only when a knot is tied over a bag of single ropes (see diagram) do the ends from different ropes end up in the hands of the spectator-assistants. Assistants should not stretch the ropes to the sides, otherwise it will be difficult to perform the final part of the trick. Having reached inside the bag, the magician moves the middle ball to the side and removes the wire connecting the ropes; at the same time, he holds the ropes together with his hand, otherwise all objects will immediately fall to the floor. He wraps the removed wire around the little finger of the hand holding the ropes and begins to take out the balls one by one, then the rings, etc. until he removes all the objects previously put on the ropes. After this, the performer asks the assistants to pull the ends of the ropes, and the bag seems to jump off the ropes into the hands of the magician. All that remains is to quietly get rid of the wire that held the middle of the ropes together; now this will not be too difficult for you. For our tricks we recommend using ropes with an outer braid, but for the last illusion another rope is simply unsuitable. You can get a scarf from a torn newspaper only if you dissect it and load it with a scarf, which we already introduced you to in the session with cylinders (see Fig. 104). You have obviously already guessed why the rope suddenly acquired the rigidity of the rod; we encountered similar phenomena twice - in scarf session (see fig. 67) and in session with cylinders (See Fig. 109). The magician removed the outer braid from the rope and inserted beads strung on simple twine inside it, having the appropriate diameter and cylindrical shape. Bundles of threads, previously pulled from the braid, were tied to the ends of the twine, this is shown in Fig. 116, A.
The twine with beads is inserted inside the braid using a long soft wire. The tufts of thread were then trimmed flush with the braid and the rope took on its natural appearance. The end of the rope allows you to tie a noose because it is soft inside, which leads the audience to believe that the whole rope is the same. When the magician moved the beads to one side, towards the loop, they pressed against each other and gave the rope the hardness of the rod (Fig. 116, B). Author: Bedarev G.K.
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